more conventional orchestral movements, was deemed eligible to be adjudged as a stand-alone work.) In the Austrian section, the first prize was awarded to Franz Schmidt for his Third Symphony, the second to Hans Gál for his First Symphony and the third prize to a symphony by Moni Friedsohn. In the Scandinavian section, the first prize went to Kurt Atterberg of Sweden for his Sixth Symphony, the second to the Norwegian, Ludvig Irgens-Jensen, for his orchestral Passacaglia, and the third prize to a symphony by the Dane Jens Laursen Emborg. Final judging From 19 to 23 June 1928 the 30 winning scores from the ten national zones were evaluated in Vienna by the International jury. This body consisted of one delegate from each of the zones plus an eleventh juror appointed in Vienna. The chairman was Alexander Glazunov; he was assisted by Franco Alfano, Alfred Bruneau, Walter Damrosch, Carl Nielsen, Franz Schalk, Max von Schillings, and Donald Tovey. The Polish delegate was Emil Młynarski; the eleventh, Viennese, delegate was Guido Adler. Since the deliberations of the jury were never published, they have been the subject of much rumour. It was agreed that all the completions of Schubert's Unfinished should be ruled out and the judging devoted only to the original works. The sole international prize was awarded to the Sixth Symphony of Kurt Atterberg. Vasily Kalafati received a second place acknowledgment for his work Legende, Op. 20. Atterber's Symphony received two recordings at the time (conducted by Beecham on Columbia, and by Atterberg himself with the Berlin Philharmonic on Polydor). The works by the joint UK prize winners Frank Merrick and John St. Anthony Johnson were also recorded by Columbia, Charles Haubiel's Karma was recorded in the USA, and the joint first prize winners for France/Belgium/Switzerland (by Gustave Guillemoteau and Henry Ryder) were recorded in Paris by Columbia (the Conservatoire Orchestra, conducted by Philippe Gaubert). Kurt Atterberg's Symphony was eventually reviewed with a fair amount of derision by international critics as a particularly weak and derivative specimen of contemporary music. It is clear that Atterberg's symphony was in direct competition with two other scores, namely Franz Schmidt's Third Symphony and Czesław Marek's Sinfonia, because both of these pieces - though they received no prize, no money and no recording - merited an 'honourable mention' in the final judgment. Other pieces may however have been involved in the final balance. Sources